'Sexjazz' is the third studio album from Melbourne vocalist Henry Manetta. A melismatic concoction of deep jazz thought, spatial blues and in-the-pocket soul fire, it features Adam Rudegeair on piano, keyboards and marimba, Ron Romero on saxophone, Adam Spiegl on bass, Scott Hay on drums and percussion, and Clare Moore on harmonies, vibes and percussion. Alex Taylor provides violins and Justin Ashworth programmed the synth sounds.

'Sexjazz' is an album of songs that explore the gamut of human desire, from the smouldering extravagance of 'Stutter,' the gothic opulence of 'I Slept with the Damned' through to the sexually electric 'The Beatnik Sighed.' It also includes Henry's gospel fuelled duet with Clare Moore on 'Who Knows Where The Time Goes.'

"Heah cum de Dang Dang Man! Out of the nether regions of Melbourne, another tableau of delectable delights from the man whose mother must have weaned him on the vocalese of King Pleasure and Lambert Hendricks and Ross, with his puberty spent under the spell of Kurt Elling.

This is music such as we may never hear away from the subterranean world of Dante's Inferno, or perhaps during a nightmare, but the man keeps touring so it may come to you in live performance, or from this CD.

Without detailing the merits of every track, I'll talk of track 2 which opens with a tad of Dr. John piano, a chorus of crackling sax, and lyrics with the immediacy of Dylan Thomas after a bender at a Dublin tavern. Get the picture? Another track has a laid-back intensely swinging groove, meandering tenor sax screeching out a mood that only Romero's mind could devise, and more of those puckish lyrics.

As for the melodies, most would confuse the whistling milkman five minutes after he'd heard them, but there is no doubting the brilliance of the way the notes come together with an aptness that underscores those words. While Henry's voice goes from basso to falsetto in the blink of a semi-quaver, the soloists gather their myriad ideas and jump in when their moment arrives.

Influences abound with them all, which is interestingly enabling as they match their tone and invention to the erratic and erotic moods inspired by the lyrics, all bar two of the songs bearing the stamp of Messrs Manetta and Rudegeair. If titles inspire visions of content, then 'Womb Booth' or 'Professional Lush' might scare the living daylights out of the first-time listener, but 'Funkier Than A Mosquito's Tweeter' is as hilarious as it's title, so press on. Songs for swinging neurotics they may be, but this man and his band are so entertaining that the CD merits much playing in your very own padded cell."

Ron Spain, Jazz Scene Magazine.

"Recorded and mixed in Port Melbourne, this soul-jazz release grabs your attention with its convoluted melody lines and percussive lyrics hammering away. Think of Aretha Franklin and combine that with Albert Ayler, Horace Tapscott and the bizarre but compelling rhythms of keyboardist Sun Ra and you have the idea. Vocalist Manetta has put together a work featuring originals that are highly innovative, even confronting, but still make captivating listening. That's no mean feat. It's due in no small part to a line-up that includes bassist Adam Spiegl, whose rock-solid lines hold everything together, saxophonist Ron Romero, Adam Rudegeair grooving away on the piano, Scott Hay on drums and percussion, combined with string arrangements featuring Alex Taylor on violin and Justin Ashworth providing synth backing that swings like fury. There are intriguing moments here, starting with the opener Womb Booth that has voices over the marimba and some gorgeous sax soloing including what sounds like circus licks on The Beatnik Sighed. Another is Manetta's voice against piano and bass on Professional Lush, culminating in a sax solo that seems to just ooze sex, combined with some vocalese capped off with the piano closing line straight from Chopin. This is worth listening to over and over. "

Leon Gettler, The Age Green Guide.

"As the title suggests, there is a sense of humour at work here; A sly wink to let you know Melburnian Henry Manetta doesn't take this jazz lark too seriously, even if his singing is super cool, overtly clever and executed with considerable panache. You can hear echoes of Elling or Tom Waits but Manetta is carving out his own niche, with the help of songwriting partner Adam Rudegeair (on keyboards and marimba), by throwing R&B sassiness in amid the slippery jazz grooves and harmonies. Saxophone, bass and drums flesh out the songs, which keep Manetta's crooning, swooping, growling, scatting and generally zany voice and lyrics centre stage."

John Shand, Sydney Morning Herald.

"Imagine a world where Captain Beefheart and Tim Buckley decided to form a band with Sun Ra sitting in on keys. Defiantly individual and possessing a vocal range that that almost defies belief, Henry draws influences from the grand traditions of jazz and soul, as well as the world of the avant-garde, to create music that is nothing if not unique."

'Sexjazz' is the third studio album from Melbourne vocalist Henry Manetta. A melismatic concoction of deep jazz thought, spatial blues and in-the-pocket soul fire, it features Adam Rudegeair on piano, keyboards and marimba, Ron Romero on saxophone, Adam Spiegl on bass, Scott Hay on drums and percussion, and Clare Moore on harmonies, vibes and percussion. Alex Taylor provides violins and Justin Ashworth programmed the synth sounds.

'Sexjazz' is an album of songs that explore the gamut of human desire, from the smouldering extravagance of 'Stutter,' the gothic opulence of 'I Slept with the Damned' through to the sexually electric 'The Beatnik Sighed.' It also includes Henry's gospel fuelled duet with Clare Moore on 'Who Knows Where The Time Goes.'

"Heah cum de Dang Dang Man! Out of the nether regions of Melbourne, another tableau of delectable delights from the man whose mother must have weaned him on the vocalese of King Pleasure and Lambert Hendricks and Ross, with his puberty spent under the spell of Kurt Elling.

This is music such as we may never hear away from the subterranean world of Dante's Inferno, or perhaps during a nightmare, but the man keeps touring so it may come to you in live performance, or from this CD.

Without detailing the merits of every track, I'll talk of track 2 which opens with a tad of Dr. John piano, a chorus of crackling sax, and lyrics with the immediacy of Dylan Thomas after a bender at a Dublin tavern. Get the picture? Another track has a laid-back intensely swinging groove, meandering tenor sax screeching out a mood that only Romero's mind could devise, and more of those puckish lyrics.

As for the melodies, most would confuse the whistling milkman five minutes after he'd heard them, but there is no doubting the brilliance of the way the notes come together with an aptness that underscores those words. While Henry's voice goes from basso to falsetto in the blink of a semi-quaver, the soloists gather their myriad ideas and jump in when their moment arrives.

Influences abound with them all, which is interestingly enabling as they match their tone and invention to the erratic and erotic moods inspired by the lyrics, all bar two of the songs bearing the stamp of Messrs Manetta and Rudegeair. If titles inspire visions of content, then 'Womb Booth' or 'Professional Lush' might scare the living daylights out of the first-time listener, but 'Funkier Than A Mosquito's Tweeter' is as hilarious as it's title, so press on. Songs for swinging neurotics they may be, but this man and his band are so entertaining that the CD merits much playing in your very own padded cell."

Ron Spain, Jazz Scene Magazine.

"Recorded and mixed in Port Melbourne, this soul-jazz release grabs your attention with its convoluted melody lines and percussive lyrics hammering away. Think of Aretha Franklin and combine that with Albert Ayler, Horace Tapscott and the bizarre but compelling rhythms of keyboardist Sun Ra and you have the idea. Vocalist Manetta has put together a work featuring originals that are highly innovative, even confronting, but still make captivating listening. That's no mean feat. It's due in no small part to a line-up that includes bassist Adam Spiegl, whose rock-solid lines hold everything together, saxophonist Ron Romero, Adam Rudegeair grooving away on the piano, Scott Hay on drums and percussion, combined with string arrangements featuring Alex Taylor on violin and Justin Ashworth providing synth backing that swings like fury. There are intriguing moments here, starting with the opener Womb Booth that has voices over the marimba and some gorgeous sax soloing including what sounds like circus licks on The Beatnik Sighed. Another is Manetta's voice against piano and bass on Professional Lush, culminating in a sax solo that seems to just ooze sex, combined with some vocalese capped off with the piano closing line straight from Chopin. This is worth listening to over and over. "

Leon Gettler, The Age Green Guide.

"As the title suggests, there is a sense of humour at work here; A sly wink to let you know Melburnian Henry Manetta doesn't take this jazz lark too seriously, even if his singing is super cool, overtly clever and executed with considerable panache. You can hear echoes of Elling or Tom Waits but Manetta is carving out his own niche, with the help of songwriting partner Adam Rudegeair (on keyboards and marimba), by throwing R&B sassiness in amid the slippery jazz grooves and harmonies. Saxophone, bass and drums flesh out the songs, which keep Manetta's crooning, swooping, growling, scatting and generally zany voice and lyrics centre stage."

John Shand, Sydney Morning Herald.

"Imagine a world where Captain Beefheart and Tim Buckley decided to form a band with Sun Ra sitting in on keys. Defiantly individual and possessing a vocal range that that almost defies belief, Henry draws influences from the grand traditions of jazz and soul, as well as the world of the avant-garde, to create music that is nothing if not unique."